Ville conquise

The story begins in the tenements of New York, with two brothers, one an aspiring musician and the other a fighter, who already has a yen for a pretty young neighbor who is an aspiring dancer. Cut to some years later, and the boxer is James Cagney, the musician's Arthur Kennedy, and the young neighbor is Ann Sheridan. All three of them are on the way to making it in their chosen careers, but in doing so, Sheridan's character falls in love with a sleazy ballroom dancer (Anthony Quinn). Cagney makes it big in boxing in order to help fund his brother's music career, before tragedy brings the three back together.

Cagney is Cagney as ever, but Sheridan seems a little too genteel as his tenement-bred girl - although that's partly the point - and I kept wondering why they didn't pick a dancer for the part. Whenever they need a dance number, they either shoot it from the waist down or cut to a long shot. It's too bad WB didn't have Rita Hayworth under contract - she would have been ideal, and a much better fit than the role she was doing over at Columbia at that time, in Ben Hecht's Angels Over Broadway (1940). Arthur Kennedy as the musical brother doesn't make a huge impression, but it's interesting to see Elia Kazan in a small role.

It has great camerawork with a great sense of the late 30s. I didn't realize until afterwards that the great James Wong Howe had a hand in this, but it figures. It's one of those films that feels like it fell a little short of its lofty ambitions, but it's so handsome that I hardly cared.

With a first-rate cast, good boxing sequences, an excellent music score by Max Steiner, a smattering of romance and action sequences, this film has got to be one of James Cagney's best films. Besides, you get a chance to see Arthur Kennedy and Elia Kazan in their first film, and both are excellent. If Kazan weren't such a great director, he easily could have made a career as an actor. Be sure to notice the surprising scene where Anthony Quinn seems to force himself on Ann Sheridan, who pleads for him to stop as the scene fades. Surprising, because even an implied rape was against the strict code in 1940. I wonder how that scene got past the Hays Office.

City for Conquest (1940)

*** (out of 4)

James Cagney's brilliant performance is the highlight of this film about a boxer (Cagney) who risks it all for the love of his girl (Ann Sheridan) and his brother (Arthur Kennedy). It's rather amazing at how great Cagney can be in so many different type of roles. Yes, he mainly played wise guys but whenever he broke this mode he just shows what a great actor he was and that's certainly true with his performance here, which has to rank as one of the greatest of his career. The transformations his character goes through is certainly a juicy role for an actor and Cagney nails all of the different moods without any problems. When the boxer starts to lose his site is when Cagney really shines and his performance here is brilliantly done. I'm not sure what they did to Cagney's eyes but whatever they did looked terrific. I didn't care too much for Sheridan as I thought she brought the film down and a better actress would have suited the film better. The supporting cast is excellent and features nice performances by Kennedy, Frank Craven, Donald Crisp, Frank McHugh and George Tobias. Anthony Quinn is terrific in his role as Cagney's rival and future director Elia Kazan also shocked me with how great he was. The big boxing scene was brilliantly filmed and looked extremely well bringing in all sorts of intense action. The ending is pretty hokey but otherwise this is a highly impressive little film.

As working class stiff Danny Kenny who drives a truck for a living, James Cagney created one of his most unforgettable screen heroes and one of my favorite Cagney films in City for Conquest.

No studio could do a working class film like Warner Brothers and this is one of the best. It does get melodramatic and has large doses of sentimentality with it, but never to extreme.

For a guy who eventually makes his living as a prizefighter, Danny Kenny is one of the gentlest heroes James Cagney brought to the screen. His greatest pleasures are found in the girl friend he has from the neighborhood, Ann Sheridan, and in listening to the music creations of his brother Ed, played by Arthur Kennedy in his film debut. Kennedy has ambitions to be a serious composer and Sheridan has ambitions herself to get out of the Lower East Side of New York via show business as a dancer. To realize those ambitions she hooks up with a no good dancer/gigolo in Anthony Quinn.

So Cagney who if he had his way would have been content to spend his life driving a truck, to help Kennedy with his dream and to win Ann Sheridan back, takes up boxing. It all results in some terrible sacrifices he makes for both of them.

Director Anatole Litvak gave Cagney and Sheridan a fine supporting cast to help carry the story along. Donald Crisp is Cagney's manager, Frank McHugh in his ever familiar role as best friend, and future director Elia Kazan as another pal from the neighborhood who becomes a gangster,

Kazan exacts some vengeance on Cagney's behalf, but then pays for it himself in a never to be forgotten death scene.

My suggestion is that when you watch City for Conquest do it alone, because if you do it alone you might more easily give way to tears at Arthur Kennedy's dedication to his symphony to his brother.

Unless you cry better in a group. Kennedy's performance and this scene in particular insured that man of the long and great career he had.

But the film is really for James Cagney fans in every generation.

City for Conquest (1940)

Great credentials here, from director Anatole Litvak to photographers (two of them) James Wong Howe and Sol Polito. That's enough for any movie. And music by Max Steiner, and throw in James Cagney, and you get a sense of the rich tapestry of New York that gets better and better as it goes, with even a small (sensational) part by Elia Kazan and Arthur Kennedy's first role.

Now it's a little stretch to see Cagney as a fighter--he's fit about as much as I am, and has no boxer's physique. But the movie is a hair lightweight in a heartwarming way (this is no Raging Bull, nor even James Garfield, later in the 1940s). But it creates a great milieux, just as the war is going in Europe and the Depression is ending in New York. The streets are abuzz, and love is in the air. There are a lot of 1930s era effects that are quaint--the fast montages of the city, or of dancers--and the plot itself, of a couple destined for each other but buffeted by life's usual distractions, is sweet.

And it all unfolds with such well-oiled perfection, the same era as Kane and Casablanca, and the same studio system and film stock. Great stuff, well made, and overcoming whatever conventional sentiments that thread through it all. It's even enjoyable without the plot, the boatride at night (think Weegee), the street scenes with kids everywhere (think Helen Levitt). It's a surprisingly honest, vivid movie.